- Contact |
-
Phone |
(+34) 91 542 72 51.
We’re open from Monday – Friday 10h-13:30h / 17:00-20:00h and Saturdays 10h-13:30h (GMT + 1).
In 2022, we will be closed for holidays the 1st and 6th January, 14th, 15th and 16th April, 2nd and 16th May, 25th July, 12th October, 16th August, 1st and 9th November, 6th, 8th and 26th December.
Our shop is located in Calle Campomanes nº 4, Madrid 28013 España (Ópera Metro Station) - Help |
- Price list |
- Order situation |
- Wholesalers Access
Shipment period:
If the product is in stock the delivery is immediate. Otherwise, the fabrication time is 3 working days
Description:
He excelled in the most serious, solemn palos of Gypsy origin (often known as Cante Jondo), like Tonás, Martinetes, Soleá, and Siguiriyas, of which he recorded all or most of the traditional songs and variations. The value of his artistic legacy is controversial. On the one hand, some flamenco fans and critics consider him to be a model to imitate, an impersonation of the most authentic flamenco, and a restorer of traditional forms. On the other hand, others disregard him as excessively orthodox, academic, and cold, and regard his views on flamenco as paralysing and a threat to the future evolution of the flamenco art. They also often accused of ethnical bias, as he tended to overemphasize the quality of flamenco styles which where of Gypsy origin, while looking down to anything non-Gypsy.
It is frequently stated that some of the songs he rescued from oblivion had in fact been created by him, although he always denied it, as he believed that in flamenco there was no scope for new creations, and modern singers had to limit their work to the traditional songs inherited from the tradition. However, many of the songs he rescued are now part of the usual repertoire of flamenco artists.
Reviews:
Who bought these items, bought as well:
-
He excelled in the most serious, solemn palos of Gypsy origin (often known as Cante Jondo), like Tonás, Martinetes, Soleá, and Siguiriyas, of which he recorded all or most of the traditional songs and variations. The value of his artistic legacy is controversial. On the one hand, some flamenco fans and critics consider him to be a model to imitate, an impersonation of the most authentic flamenco, and a restorer of traditional forms. On the other hand, others disregard him as excessively orthodox, academic, and cold, and regard his views on flamenco as paralysing and a threat to the future evolution of the flamenco art. They also often accused of ethnical bias, as he tended to overemphasize the quality of flamenco styles which where of Gypsy origin, while looking down to anything non-Gypsy.
It is frequently stated that some of the songs he rescued from oblivion had in fact been created by him, although he always denied it, as he believed that in flamenco there was no scope for new creations, and modern singers had to limit their work to the traditional songs inherited from the tradition. However, many of the songs he rescued are now part of the usual repertoire of flamenco artists.
SongsDisc 1
1.La mulilla (Bulerías)
2.Tanto llamar (Seguiriyas de los puertos)
3.Mañana me voy (Tangos)
4.Por tu causa (Soleares de Cádiz y Jerez)
5.Tres cuadros (Tanguillos)
6.A mis enemigos (Seguiriyas de Cádiz y los puertos)
7.Los llaman (Giliana)
8.Me muero yo (Seguiriyas de Triana)
9.Alevántate (Tonás)
10.Romande de la princesa Celinda (Corrida)
11.Gitana pura (Bulerías)
12.Los pasos (Seguiriyas de los puertos y Triana)
13.En Santa Ana (Tangos de Triana)
ArtistsPalosWho bought these items, bought as well:
